Chapter 6 Fabric Bonding method using Transfer Adhesive

The different techniques are shown as follows:

1.  Using Bondaweb to attach fabrics - symmetrical designs

2.  Using Bondaweb to attach fabrics - asymmetrical designs

It is important to use a hot iron and sandwich the fabric between sheets of baking parchment paper.  Ensure the iron flex is taped and safe from tripping.

3.  Sheet of decorative bonded fabrics with bits - In turquoise
Accompanied by sample

4.  Sheet of decorative bonded fabrics with bits - In reddy orange
Accompanied by samples

It is important if using supermend powder to avoid shaking it haphazardly, so unnecessary sticking is avoided and if necessary use a mask. 
Use a hot iron and sandwich the fabric between sheets of baking parchment paper.

5.  Making coloured tissue with sample

6.  Painting glue side of Bondaweb with sample

7.  Developing designs including use of tissue with bonded bit fabric, based on Cross design on Page 55

8.  Developing designs including use of painted bondaweb and bonded bit fabric, based on Cross designs on Pages 55 and 57

When painting or gluing it is important to cover surfaces with plastic and have papers to place sheets for drying.  Some paper sheets may need to be on plastic since paints and dyes can soak through.
Containers of mixed paints and water need to be steady to avoid spillage.

  

Chapter 5 Fabric Selection and Decoration

Selecting fabrics

It's amazing how and where you obtain fabric samples!  Some I already had, others were from charity shops.

The following include both turquoise and reddy orange separately displayed
1.  Selection of fabrics and threads in turquoise, with some different hints and shades
2.  Selection of fabrics and threads in reddy orange and some colours close to it for variety

Decorating fabrics

When decorating the fabrics I used four different print blocks:
Two originally used for printing papers in Chapter 2. 
I've now added a handle to each, which has sadly lost the thumb prints!
Two new ones I made using an eraser, placing a different design on each side, one part of a cross the other a cross in its own right.

The acrylic paints used were turquoise, gold metallic and a red metallic mixed with gold. 
I have noted that in the future a fabric medium should be used. It was not used this time.

Here follow Working Sheets, two for each colour fabric, preceded with scans of four A4 pieces of fabric which I particularly liked:

1.  Turquoise acrylic on turquoise rayon/linen, where there are four copies of the part cross rotated by 90 degrees in a block alongside the next set of four
See also  8. Working Sheet 2 on turquoise

2.  Red/gold metallic mix as 1 with a different cross
See also 7. Working Sheet 1 on turquoise

With both 1 and 2 I like the designs made at the centre of each block

3.  Not sure of this fabric but it was quite fine cottony texture on which were printed a cross at an angle, roughly equally spaced and in mixed colours

4.  This was part of a length of organza where I used red metallic/gold mix and some only gold

5.  Working Sheet 1 using reddy orange fabric

6.  Working Sheet 2 using reddy orange fabric

7.  Working Sheet 1 using turquoise fabric

8.  Working Sheet 2 using turquoise fabric

Chapter 4 Paper designs based on crosses

This chapter contains:
Cut and fold design shaped in black paper
Cut and fold designs on coloured papers

Cut and fold designs in black paper
All designs are labelled with a number and will be referred to in future design work e.g. Design 7 as D 7 and so on

The first 4 pages contain designs 1 to 10.
They are all radiating shapes, keeping the centre focal point of a folded square in tact and at the same point of each quarter.  Each have the folded sample followed by the resulting positive image.

Designs 11 and 12 are folded into quarters but not into squares.
Design 13 was folded as in 12 but then again into eighths.

The next page shows designs 14 and 15, asymmetrical shapes folded twice asymmetrically

Designs 16 to 20 are shapes folded symmetrically into a square then cut asymmetrically.
Design 16 is the positive image and Design 17 the negative image.
Designs 18, 19 and 20 show how a cross can be cut again from a previous cross to form a negative and positive image.

Designs 21 to 26 are shapes similar to 16 to 20 above but starting from a triangle.

Designs 27a and 28a show asymmetrical shapes where the double folding is not symmetrical.

Cut and fold designs on coloured papers
All designs are labelled with a number and refer to designs originally produced in black paper e.g. Design 7 as D 7 and so on.
The colours selected are mostly turquoise and reddy orange, some have mixed colours within these ranges.  The paper varies indicated accordingly.A code is used to abbreviate and show other combinations used:
D and a number for the original black paper design
T for turquoise, RO for reddy orange

The first two pages show symmetry where shapes are lined up centrally.
All samples have 3 layers except the fourth which has 4 layers.
All layers are non printed papers.

This page shows symmetrically cut papers with an asymmetrical composition.

This page shows asymmetrical shapes laid centrallyThere are some printed papers.

This next page shows asymmetrically mostly negative shapes and some printed papers.  There is an element of rotation to the layering.

This next page shows symmetrical and asymmetrically cut paper shapes. positive and negative images, printed and non-printed papers.
The design used is also shown, from black paper cut shapes not included earlier.

Finally, the next page shows asymmetrical complex shapes using non printed papers with a cropped version below.

Chapter 3 Design Development based on crosses

Most of my work is set on A4 sheets
Chapter 3 contains
Design sheets A1 and A2
Design sheets B1 and B2
Design sheets C1 and C2 (with revision for C1 and advice needed to complete)

Design Sheet A1
I used black felt to label until I realised gel pens were requested 
(Gold gel pen does not work too well on turquoise - hope it can be read!) 
This shows:
i Counterchange
ii Interchange
iii Symmetry
iv Asymmetry

Design Sheet A2
This shows:
vi Distortion of an original cross into a circle, tall triangle and flat diamond                    
vii Repeat pattern using the tall triangle in a line and a curved
example which would eventually form a circle pattern

Design Sheet B1
This shows:
i Scale using a large and small version of the same cross edge to edge
ii Repeat pattern using both sizes of the cross joined edge
iii Border row pattern used to form a corner joined edge to edge
These would make great designs for book covers

Design Sheet B2
The labelling uses silver gel pen clearer on the blue background
This shows:
iv Three linking border patterns, the two crosses used have open centres
v Linking two different shapes
These would make great designs for jewellery
vi New shape from old

Design Sheet C1: Revisions are needed for this exercise
This shows:
i Complex counterchange see also revision dated 23 05 12
ii Divide and separate
iii Interlocking overlap using a shape

Revision of C1i and C1ii dated 23 05 12

Design Sheet C2:
Pattern with new design unit
Advice is required to complete this section
Up until now I've divided the shape into triangular quarters and continued with a shape quarter of the original shape.
Do I use a square quarter and enlarge it to the size of the original square? or leave it at its current size,as in C1 iii above? 
             

Chapter 2 Colouring and printing on papers

A.  Making coloured papers
Chose complementary colours of turquoise and reddy orange.
The techniques were based on the Distant Stitch video, using brusho dyes 
1.  Work Sheet outlining the making of Coloured Papers

2.  Samples of the different Coloured Papers

3.  Page showing an array of Coloured Papers referring to the above work sheet

B.  Printing onto Coloured Papers
1 and 2.  Show the prints made of a partial cross from a tile print, using mostly reddy orange acrylic on to turquoise backgrounds. 

I also did several showing a different print of turquoise on reddy orange (not presented here).

C.  Cross shapes cut from Coloured Papers

1 and 2.  Show a selection of crosses indicating those where scissors were used and those where a craft knife was used:

NB.  There are number of Health & Safety issues related to all the above which were inserted in the notebook but not on the blog.